Study Guide: Students & Educators H EA TE R COMPANY

Home , Atlantic Theater Company, A Life in the Theatre, Ernest in Love, Mary Beth Peil, Mia Barron, The Audience (2013 play)

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I C T study guide: students & educators H EA TE R COMPANY

Director of Education Written by Education Coordinator HEATHER BAIRD FRAN TARR

Designed by Marketing Manager Contributions from CECILE ORESTE TYLER EASTER Education Associate ARIELLA SEGAL Education Intern

Adaptation by A free adaptation of MOIRA BUFFINI The Suicide by NIKOLAI ERDMAN Directed by NEIL PEPE

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I C T TABLE OF CONTENTS H EA TE R COMPANY

SECTION 1: THE PLAY Synopsis, Characters, Setting, Themes

SECTION 2: CAST & CREATIVE Adaptation, Director & Cast Bios

SECTION 3: YOUR STUDENTS AS AUDIENCE Theater Vocabulary, Theater Genres & Satire, Dying For It Vocabulary, The Russian Revolution, Webbing & Discussion Triggers, Relating Themes To Our Own Lives

SECTION 4: YOUR STUDENTS AS ACTORS Theater Warm Up Game: Two Truths and a Lie, Reading A Scene For Understanding, Practical Aesthetics Sheets

SECTION 5: YOUR STUDENTS AS ARTISTS Make Your Own Play, Performing Your Own Satirical Scene, Political Cartoon Activity, Common Core & DOE Theater Blueprint

SECTION 6: THE ATLANTIC LEGACY Atlantic Theater Company, Atlantic Acting School

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I C T section 1: the play H EA TE R COMPANY

SYNOPSIS DYING FOR IT is the story of Semyon, a man down on his luck, married to a nag, and out of options. When he decides to throw in the towel and kill himself, a deluge of sympa- thetic visitors descends upon him, determined to make him a martyr for their many causes. Swept up in the firestorm of attention, Semyon does take matters into his own hands, but not quite in the fashion that everyone expects. An outrageous satire on the hypocrisy and illogic of Soviet life, this play was banned by Stalin before it ever saw the light of day, and is now regarded as an under-known 20th century classic comedy.

CHARACTERS Semyon Semyonovich Podsekalnikov - An unemployed man, age 27

Maria Lukianovna ‘Masha’- Semyon’s wife, a worker, age 25

Serafima Ilyinichna - Masha’s mother, a cleaner

Alexander Petrovich Kalabushkin - Their neighbor, a fairground stall holder

Margarita Ivanovna Peryesvetova - Alexander’s lover, owner of a coffee shop

Yegor Timovevich - A postman

Aristarkh Dominikovich Grand-Skubik - A member of the intelligentsia

Kleopatra Maximovna ‘Kiki’- A romantic SETTING An urban slum. Russia in the late 1920’s. Father Yelpidy - A priest

Viktor Viktorovich - A writer THEMES Manipulation, self-worth, finding one’s purpose, shared values, repression, hypocrisy, role reversal Stepan Vasilievich & Oleg Leonidovich - Undertakers

Two Beggar Musicians

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I C T section 2: cast & creative H EA TE R COMPANY

MOIRA BUFFINI (Adaptation) Plays include Handbagged for the Tricycle Theatre; West End transfer and Olivier Award Winner for Best Off West End play. Welcome To Thebes and Dinner (Olivier Award nomination Best Comedy) for the National Theatre, Dying For It (adapted from Nikolai Erdman’s The Suicide) and Marianne Dreams (adapted from Catherine Storr’s book) for the Almeida, A Vampire Story for NT Connections, Loveplay for the RSC, Silence for Birmingham Rep (Susan Smith Blackburn Prize), Gabriel for Soho Theatre (LWT Plays On Stage Award and the Meyer Whitworth Award) as well as Atlantic Theater Company Off Broadway, Blavatsky’s Tower for the Machine Room and Jordan with Anna Reynolds for The Gate (Writers Guild Award for best fringe play). Screenplays include Tamara Drewe directed by Stephen Frears, Jane Eyre directed by Cary Fukanaga and Byzantium, adapted from her play A Vampire Story, directed by Neil Jordan. Next up is Sutton Hoo, directed by Susanne Bier starring Cate Blanchett, filming Autumn 2014. Moira recently directed her first short film,Father . NEIL PEPE (Director) Neil Pepe recently staged the acclaimed world premiere production of John Guare’s 3 Kinds of Exile at Atlantic and the Broadway production of the new musical Hands on a Hardbody. Other Broadway credits include the acclaimed revival of Speed-the-Plow and David Mamet’s A Life in the Theatre. Off-Broadway: Jez Butterworth’s Parlour Song, Mojo and The Night Heron; Ethan Coen’s Happy Hour, Offices and Almost an Evening; Harold Pinter’s Celebration and The Room; Adam Rapp’s Dreams of Flying, Dreams of Falling; Joe Penhall’s Blue/Orange; Hilary Bell’s Wolf Lullaby; David Pittu’s What’s That Smell?; Howard Korder’s Sea of Tranquility (all at Atlantic); David Mamet’s American Buffalo (Donmar Warehouse, Atlan- tic); Romance, Keep Your Pantheon/School (Center Theatre Group, Atlantic); Zinnie Harris’ Further than the Furthest Thing (Manhattan Theater Club); Jessica Goldberg’s Refuge (Playwrights Horizons); Tom Donaghy’s The Beginning of August (South Coast Repertory, Atlantic). Frank Gilroy’s The Subject Was Roses with Martin Sheen (CTG). Also, Eric Bogosian’s Red Angel (Williamstown Theater Festival). Since 1992, Neil has been the Artistic Director of the award-winning Off-Broadway company, Atlantic Theater Company.

MIA BARRON (Margarita) Recent theater includes Bruce Norris’s Domesticated (Lincoln Center), Sam Hunter’s A Great Wilderness (Williamstown Theatre Festival) and Nicholas Martin’s production of The Show Off (Westport Playhouse). Broadway: The Coast of Utopia, QED. Off Broadway: What Once We Felt (Lincoln Center), Spirit Control (Manhattan Theatre Club), Knickerbocker (Public The- ater), The World Over, She Stoops to Comedy, The Pain and the Itch (Playwrights Horizons), Hillary (New Georges), 1001 (PG 73), Grille Room (Cherry Lane), Penetration Play (13P), Co-Creator/Performer Big Times (Leigh Silverman, director). Education: BFA New York Uni- versity, MFA New York University Graduate acting Program.

BEN BECKLEY (Yegor) Theater: Peter and the Starcatcher (First National Tour); Goldor $ Mythyka (New Georges); The Cocktail Party (The Actors Company); The Illusion (Berkshire Theatre Group); Not A Creature Was Stirring, Los Angeles, Cato (Flea); Salamander Leviathan (Public Theater/Joe’s Pub); The Sister (The Brick); Ghost Box, Welcome to Nowhere (Temporary Distortion); That Poor Dream, HOME/SICK, The Three Sisters, Clementine and the Cyber Ducks (The Assembly – company member); Zinnias (Peak Performances, workshop), dir. Robert Wilson. Film: The Onion, Crooked and Narrow, The Jew of Malta, The Revolution. www.benbeckley.com

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I C T section 2: cast & creative H EA TE R COMPANY

NATHAN DAME (Oleg) Music Director: A Little Night Music (Berkshire Theatre Group); Pump Boys and Dinettes (Geva Theatre); The Lightning Thief (Theatreworks USA); Fly Guy and Other Stories (The- atreworks USA); Adam Lives (Goodspeed NMF); Upcoming: Pretty Filthy with the Civilians. Music Supervisor: Mr. Burns by Anne Washburn, music by Michael Friedman (Playwrights Horizons). Assoc. Music Director: What’s It All About? (New York Theatre Workshop); Fly By Night (Dallas Theater Center); Triassic Parq: The Musical (Amas Musical Theatre); Himself and Nora (NYMF, Tritone Productions); Nightmare Alley (NYMF, Tritone Productions). Music Assistant: First National Tour of The Addams Family. PATCH DARAGH (Victor) Patch Daragh returns to Atlantic after starring in Rolin Jones world premiere production of The Jammer. He recently appeared Off Broadway in Branden Jacobs-Jenkins Obie Award winning play Appropriate and Sarah Treem’s When We Were Young and Unafraid. Broadway: Our Town. Off Broadway: Kin (Playwrights Horizons), The Glass Menagerie (Roundabout, Lor- tel Nomination Outstanding Lead Actor), Crimes of the Heart (Roundabout), All That I Will Ever Be (NYTW), The Ruby Sunrise (The Public), Where We’re Born (Rattlestick), The Grille Room, Spin, The Secret Agenda of Trees (Cherry Lane). Film: Let’s Be Cops, Loitering With Intent, Coach, Little Horses, Hope Springs, Upcoming: M. Night Shyamalan’s Sundowning. CLEA LEWIS (Kleopatra) Clea Lewis returns to Atlantic where she first appeared in the world premiere of Woody Al- len’s Writer’s Block. She made her Broadway debut in Absurd Person Singular. Off Broadway credits include Last Easter, An Experiment with an Air Pump, Fuddy Meers and Things You Shouldn’t Say Past Midnight. Other theatre includes: E.S.T. One-Act Festival. Regional: Once in a Lifetime (Williamstown); All in the Timing (Geffen Playhouse); Pterodactyls (South Coast Rep). She memorably starred as Audrey in the long running ABC sitcom “Ellen.” Ms. Lewis was the voice of Nicky on the ABC animated series “Pepper Ann.”

PETER MALONEY (Father Yelpidy) Peter Maloney has appeared in 21 plays at the Atlantic Theater Company, where he is a member, including 3 Kinds of Exile, The New York Idea, Bottom of the World, Trumpery and The Voysey Inheritance. At the Irish Repertory Theater he played in Ernest in Love and It’s A Won- derful Life and recently appeared there in Conor McPherson’s Port Authority. His performance as “Shelley Levene” in David Mamet’s Glengarry Glen Ross at the La Jolla Playhouse was critically acclaimed, and he received a Drama Desk nomination and the Richard Seff Award for his characterization of Tony Reilly in John Patrick Shanley’s Outside Mullingar on Broadway. Member: The Actors Studio, Ensemble Studio Theatre, The Irish Repertory Theatre. ANDREW MAYER (Stepan/Beggar) Recent theater: The 12 – A New Rock Musical (Signature Theater, & UPCOMING: Denver Center Theater), Fiddler on the Roof (Barrington Stage, & Westchester Broadway Theatre), Los Valientes (Core Ensemble), Fallujah (TPAC-NYC & Kennedy Center), In the Jungle of Cities (Huntington Theater – Studio 210), Marina (NYMF). Recent film: “Swing Blues” (Cul- pepper & Williams Prod), “III.1 – Romeo’s Turn” (Lost Light Prod). As a musician, Andrew is a singer and electric violinist in of one of the top wedding bands in NYC, the Michael Hart Band. He is also a trained stage combat professional. Training: Boston University School of Theatre (BFA – Acting), Manhattan School of Music, LAMDA. #DYINGFORATC I 5

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I C T section 2: cast & creative H EA TE R COMPANY

MARY BETH PEIL (Serafima) Mary Beth Peil is an Atlantic Theater Company member and returns to Atlantic following her appearances in The Threepenny Opera, Harper Regan, The Room, Frame 312 and Missing Persons, for which she received an Obie Award. Broadway: Follies, Women on the Verge of a Nervous Breakdown, Sunday in the Park with George, Nine (Outer Critics Circle nomination), The King and I opposite Yul Brynner (Tony Award® nomination). Off-Broadway: Domesticated (LCT), The Morini Strad (Primary Stages), Hedda Gabler (NYTW), First Lady Suite (Transport Group), As Thousands Cheer (Drama Dept), A Cheever Evening (Obie, Playwrights Horizons), Sylvia (MTC), Finding the Sun (Signature), Naked Truth (Obie Award, WPA). JEANINE SERRALLES (Masha) Jeanine Serralles returns to Atlantic after starring in Rolin Jones world premiere production of The Jammer. Off Broadway: The Muscles in Our Toes (Labyrinth Theater), Paris Com- mune (B.A.M), The Maids (Red Bull Theater), Maple and Vine (Playwrights Horizons), Stun- ning (Lincoln Ctr-LCT3), The Glass Cage (Mint Theater), The Misanthrope (New York Theatre Workshop, Drama League nomination), The Black Eyed (New York Theatre Workshop, Drama League nomination); Hold Please (Working Theater, Drama Desk Nomination-Featured Ac- tress), Phoebe in Winter, Vendetta Chrome (Clubbed Thumb). MFA: Yale School of Drama.

JOEY SLOTNICK (Semyon) Joey Slotnick is an ensemble member of Chicago’s Tony Award® winning Lookingglass The- atre Company where he has performed in many productions including Our Town, Wants & Needs, Great Men of Science Nos. 21 & 22 and Mary Zimmerman’s Arabian Nights. Joey recently starred in Chapter Two directed by Marsha Mason at the Bucks County Playhouse. He made his Broadway debut in The Big Knife, with Bobby Cannavale, for the Roundabout Theatre Company. He starred in three World Premiere plays by Ethan Coen – all at the Atlan- tic and directed by Neil Pepe. His most recent features credits include Tom McCarthy’s The Cobbler and The Secret Life of Walter Mitty. ROBERT STANTON (Aristarkh Dominikovich Grand-Subik) Atlantic: The Bald Soprano. Broadway includes A Free Man of Color, Mary Stuart and The Coast of Utopia. Off-Broadway: two dozen shows include Love Child, written with Daniel Jen- kins, and All in the Timing (Obie and Clarence Derwent Awards). Recent credits include Ar- nolphe in The School for Wives (Two River Theater), The Killer (Theatre for a New Audience), Checkers (Vineyard), Charles Marsden in Strange Interlude (Shakespeare Theatre), Boyet and Dull in Love’s Labour’s Lost (The Public), Alarm Will Sound’s 1969 (Carnegie Hall), “Orange Is the New Black,” “Elementary,” “The Good Wife” and Rupert Goold’s upcoming filmTrue Story. C.J. WILSON (Alexander Petrovich Kalabushkin) Atlantic Theater Company: Our New Girl, Offices and The Voysey Inheritance. Broadway: Bronx Bombers, The Big Knife, Glengarry Glen Ross, A Steady Rain, Festen, Henry IV, Long Day’s Journey into Night, and Gore Vidal’s The Best Man. Off-Broadway: Bronx Bombers, Happy Now? (Lucille Lortel nom. Primary Stages); Medieval Play, The Lady from Dubuque (Signature); All-American (LCT 3); Race (CSC); Home of the Brave (Jewish Rep); Stop Kiss and The Merry Wives of Windsor (Public). Television: “The Sound of Music Live!,” “The Following,” “The Good Wife,” “The Americans,” “Blue Bloods,” “Pan Am,” “Onion Sports- dome,” “Brotherhood,” “Without a Trace,” “Law &Order.” #DYINGFORATC I 6

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I C T section 3: YOUR STUDENTs AS AUDIENCE H EA TE R COMPANY

“Plays should tell simple, honest stories.”

- David Mamet, American playwright & noted actor, William H. Macy, founders of Atlantic Theater Company

The following activities will assist your students in understanding the intentions of the playwright in telling a simple story.

TEACHER OBJECTIVE To introduce students to the characters, setting, and story of DYING FOR IT.

STUDENT GOAL To understand that actors, working together, will simply and truthfully create the story of the play.

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I C T theater vocabulary H EA TE R COMPANY

Action The events that move along the story of the play TEACHER OBJECTIVE and which influence the characters within the play. To be able to discuss theater through a common, shared vocabulary. Characters Individuals the audience learns about from their actions and reactions. STUDENT GOAL To understand that the most effective way to discuss Ensemble A group of performers working together to theater and new ideas is through a shared vocabulary. create a complete production.

Dialogue The exchange of speech between two characters which reveals the feelings of the character as well as the story of the play.

Monologue A speech by one actor on stage which is intended to reveal the inner thoughts of the character the actor plays.

Character Arc The change produced in a character by the events and other characters in the play.

Musical Theater A twentieth century creation where writers and musicians collaborate to create a play which features song, dance and drama.

Mood The overall feeling the play evokes.

Costume The clothes, boots, etc., worn by the actors based on their character.

Prop Objects used by an actor to enhance their character. For example, wine glasses at a bar for drinks.

Set The constructed environment of a play within which the action takes place.

Sound Noises and music used in the play.

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I C T theater genres & satire H EA TE R COMPANY

THEATER GENRES IN-DEPTH EXPLORATION OF SATIRE

Comedy A light and humorous play that contains a happy John Dryden uses the theories of the great thinkers Horace resolution of the thematic conflict. and Juvenal to define two subcategories of satire: comic satire and tragic satire. These subcategories show how the individual reader can see moments of satire from different Tragedy A dramatic play that deals with a serious or som- perspectives. ber theme. Typically, tragedies depict the stories of a character’s flaw leading to their downfall through the overpowering force of fate. Comedy Satirist An upright man who is horrified and angered by corruption.

Farce A light play that contains highly improbable plot situations, exaggerated characters, and slapstick comedy re- Tragic Satirist An urbane man of the world who sees sulting in ridiculous and humorous circumstances. folly everywhere but is moved to gentle laughter rather than to rage.

Historical A piece of literary work that takes place during the past. A historical play is characterized mainly by Satirical Works Countless plays, films, books and an imaginative reconstruction of historical events. other artistic mediums have used satire as a humorous way to expose the weaknesses or bad qualities of a person, government or society. A few examples of satirical works are: Satirical The use of humor, irony, exaggeration, or ridi- cule to expose and criticize people’s stupidity or vices, par- • Political Cartoons ticularly in the context of contemporary politics. • The Importance of Being Earnest by Oscar Wilde (1895) • Animal Farm by George Orwell (1945) • Planet of the Apes (1968 Film) • Slaughterhouse-Five by Kurt Vonnegut (1969) • Performer “Weird Al” Yankovic (1959 - Present) • The Onion Magazine (1988 - Present)

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I C T dying for it vocabulary H EA TE R COMPANY

Proletariat A group of workers or working class people. On Bloody Sunday 1905, the Proletariats went on a peace- ful march to ask the Tsar to help them, but the Cossacks attacked them.

Marxism An economic and political practice originated by Karl Marx and Friedrich Engels. Marxists believe that hu- man institutions are economically determined, that the class struggle is the basic agency of historical change and that capitalism will ultimately be superseded by communism. While Marxism was excellent in theory, it was unsuccessful in practice.

Marxist A follower of Marxism.

Icon A picture or image that represents something of importance.

Intelligentsia A group of well-educated people who guide or try to guide the political, artistic, or social development of their society.

Knackered A British word for exhausted or severely damaged.

Shebeen An unlicensed or illegally operating drinking establishment.

Comrade A fellow socialist or communist.

Egalitarian The principle that all people are equal and deserve equal rights and opportunities, especially in political, economic, and social life.

Tsar An emperor of Russia before 1917.

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I C T the russian revolution (1917 - 1918) H EA TE R COMPANY

OVERVIEW SOCIAL CLASSES BEFORE & AFTER

The Russian Revolution took place in 1917, during the final One of the main causes of the revolution was poverty in Rus- phase of World War I. The Revolution occurred during a time sia. There were big differences between rich and poor. Peas- when there were many problems in Russia. One of the major ants in the countryside and workers in the towns suffered issues was that the gap between the rich and poor was enor- from low wages, long hours, and terrible living conditions. mous. The Tsar had all power (autocracy), and ordinary peo- The poor wanted to improve their standard of living. Before ple had no control over their lives. The Revolution removed 1861, peasants were slaves called serfs. Since 1861, they Russia from the war and brought about the transformation of were given land, but they had to pay the government for it the Russian Empire into the Union of Soviet Socialist Repub- and were in great debt because of this. The only rich people lics (USSR), replacing Russia’s traditional monarchy with the in Russia were a few upper-class families and the Russian world’s first Communist state. Orthodox Church.

A leader of the Revolution, Vladimir Lenin, said that the en- According to historian Michael Lynch, the 1897 census cate- emies of Russians were the rich landowners and capitalism. gorized the population of Russia in these broad class groups: Lenin called for no private property, no social classes, and Russia’s surrender to Germany. In the spring and summer • Upper classes: Royalty, nobility, higher clergy, 12.5% of 1917, peasants were given new rights and began to seize • Middle classes: Merchants, bureaucrats, profession- and distribute non-communal properties. als, 1.5% • Working classes: Factory workers, artisans, soldiers, The revolution that Lenin led marked one of the most radi- sailors, 4%. cal turning points in Russia’s 1,300-year history: it affected • Peasants: Landed and landless farmers, 82% economics, social structure, culture, international relations, industrial development, and most any other benchmark by After the revolution, the country’s new rulers were drawn which one might measure a revolution. largely from the intellectual and working classes rather than from the aristocracy, which meant a considerable change After Lenin died, Joseph Stalin, a member of the revolution, in direction for Russia. While the revolution took the upper took control of the party. Once in power, he collectivized class out of power, the new system was still flawed since just farming and had rivals and potential enemies executed or like before the revolution, only a small percentage of people sent to forced labor camps. Joseph Stalin became the dic- had power. tator of the Union of Soviet Socialist Republics (USSR) and ruled from 1929 to 1953. Under Stalin, the Soviet Union Joseph Stalin’s Five-Year Plan intended to transform the So- was transformed from a peasant society into an industrial viet Union from a peasant society into an industrial super- and military superpower. However, he ruled by terror, and power. Stalin’s plan was centered around government control millions of his own citizens died during his brutal reign. of the economy and included the forced collectivization of Soviet agriculture. The government took control of farms and the millions of farmers who refused to cooperate with Stalin’s orders were shot or exiled as punishment. The forced collectivization also led to widespread famine across the Soviet Union that killed millions, including 10 million peasants; the very people the revolution had initially set out to save.

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I C T WEBBING & DISCUSSION TRIGGERS H EA TE R COMPANY

TEACHER OBJECTIVE To develop critical thinking skills through examining the themes in DYING FOR IT.

STUDENT GOAL To understand that the story of the play relates to their own lives.

MATERIALS Chalkboard, chalk, paper, pens, the webbing ideas and discussion triggers.

Webbing Ideas Self worth Shared Values Finding one’s purpose Repression Role reversal Hypocrisy

Discussion Trigger SEMYON: It’s killing me, I swear it. Every job I go for I stand in line with fifty other men who all look just like me and forty nine of us are turned away. I have no dignity, no labour, no value at all.

• Do you believe we are defined by our employment? • If this sense was prevalent in 1920s Russia, what does it mean in our 21st century society?

Step One Step Four Write the Webbing Ideas on the chalkboard. Ask the students to discuss how their integrity plays out in their own lives i.e. with their families. Step Two Have each student add their impressions of the meaning of Step Five one of these concepts on the board, and how it relates to Share the discussion trigger and questions with the class. their own experiences. How do our definitions of ourselves in conjunction with our employment relate to the webbing ideas and your earlier discussion? Step Three Use the students’ responses to focus on how unique each student’s perception is of these concepts. Why is this true? #DYINGFORATC I 12

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I C T RELATING THEMES TO OUR OWN LIVES H EA TE R COMPANY

TEACHER OBJECTIVE Warm-up students to develop their critical thinking skills and expand their ability to take ownership of their individual points of view.

STUDENT GOAL To understand that an individual’s personal opinion or point of view does not define them as a person. It is simply a window into understanding them as a free thinker.

SPATIAL ORGANIZATION Clear open space. One side of the room is “completely agree” and the opposite side is “completely disagree.”

Step One Step Four Instructor indicates each side of the room to the students. After each statement is read and the students move, the instructor should ask certain students to justify their position on the spectrum. The instructor can allow this to spark con- Step Two versation, or can simply move on to the next statement. Instructor will read statements to the students. These are some possible statements: Step Five • I have seen a play. After the exercise, in reflection, the instructor can ask the • Plays always have happy endings. students: “Based on the statements, what themes do you • Plays are accurate portrayals of real life. think this show may explore?” • I believe it is always wrong to manipulate another person. • Personal security can justify any decision, even if it is morally wrong. • People should do whatever it takes to feel secure or to have a sense of belonging. • Security is more important than morals.

Step Three When the instructor reads a statement, students move to ei- ther side of the spectrum or anywhere along it. Try to encourage students not to be 100% neutral.

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I C T section 4: YOUR STUDENTs AS Actors H EA TE R COMPANY

“Actors should remain truthful to the story and their character.”

- David Mamet, American playwright & noted actor, William H. Macy, founders of Atlantic Theater Company

The following activities are designed to assist your students in understanding the actor’s “job.” Like every job, even acting has its “tools.”

The Practical Aesthetics acting technique was developed by David Mamet, William H. Macy and the founding members of the Atlantic Theater Company. This technique offers the actor a set of analytical tools to understand the playwright’s intentions and what the characters want. This process of script analysis additionally helps define the actor’s job on stage.

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I C T warm-up GAME: two truths & a lie H EA TE R COMPANY

TEACHER OBJECTIVE To demonstrate to students how falsehoods can be hid- den within truths and the power of manipulation.

STUDENT GOAL To understand the complex nature of the DYING FOR IT characters’ truths and falsehoods.

MATERIALS Sheets of paper and pencils.

Step One Step Four Distribute sheets of paper to all of the students. Ask the class to raise their hands if they think that the lie is statement one, two, or three. After the voting is complete, Step Two ask the student volunteer to reveal the correct answer. Instruct students to write down three statements about themselves on their paper. Explain that two of these statements Step Five should be truthful and one statement should be a lie. Provide Encourage a few more rounds of volunteers and voting. After students with an example of your own to help guide the stu- different volunteers have read their truths and lies, ask students’ responses. dents how the volunteers’ tactics differed. How did they lead the group to a certain answer? Did the volunteer manipulate Step Three you in any way to believe their false statement was true? Have a student volunteer to share their two truths and a lie.

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I C T READING A SCENE FOR UNDERSTANDING H EA TE R COMPANY

PRACTICAL AESTHETICS EXERCISE TEACHER OBJECTIVE To introduce the Practical Aesthetics “tools” for breaking down a scene. To understand the character and the Step One story of the scene by relating the character’s actions to Divide the students in pairs. Ask the students to select which the student’s own life. character they want to portray.

STUDENT GOAL Step Two To understand that an important part of creating a sim- Allow the students time to read the scene silently to them- ple, honest character involves knowing what that char- selves. acter “wants.” Step Three MATERIALS Ask the students to read the Introduction to the Practical Pens, pencils, copies of the following scene from Aesthetic Acting Technique sheet. Have the students answer DYING FOR IT, and copies of the Literal, Want, Action, the four questions on the Scene Analysis Worksheet. As-If worksheet and/or Mini-Lesson. NOTE: The four questions and the students’ answers to them form the basis for the Practical Aesthetics scene analysis; and enables the actor to create a simple, honest character— they’re simply being honest to their own experiences!

Step Four After the students have completed the question worksheet, ask each pair of actors to read the scene in the front of the class room for an “Audience.” The students should incorpo- rate the ideas from the worksheet as they read the scene.

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I C T READING A SCENE FOR UNDERSTANDING H EA TE R COMPANY

Alexander A SCENE FROM DYING FOR IT Some bureaucrat in a heated office saying this regulation, that regulation and if it’s not electric it’s the word- ing on the license for my stall or a travel permit - one Alexander form after another and finally as the queue stretches Life is beautiful on before you through eternity you find you’re tired of Semyon living Right Semyon Yes Alexander Yes Life is a miracle, full of wonder Alexander Semyon Tired of fucking living for that What has that got to do with me? But Alexander Life is beautiful, comrade Everything. You’re alive aren’t you? Semyon Here you are, at the dawn of a brave new age You know I read that in the paper the other day and I’m Age of industry and the working man sure that they’ll retract it soon Age of medicine and electrics Semyon Yeh and what kind of age is it when they cut us off because of an unpaid bill? Alexander Good question Semyon The fucking Dark Age? Alexander It’s like living in caves isn’t it? I spent three weeks standing in line every day just to get them to adjust that bill - their mistake of course. But it doesn’t matter whose mistake it is, we’re the ones who suffer and you ask yourself finally, is that what I’m living for? Semyon Yes

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I C T practical aesthetics introduction H EA TE R COMPANY

As-If ANALYSIS In this step, the actor personalizes the action by finding a Script analysis is the process of breaking down a real-life situation in which they would behave according to beat within a scene. We ask four questions in order to the action they have chosen for the scene. do this. Example: Get a favor. 1. What is the character literally doing? 2. What does the character want? It’s AS-IF I forgot to do my science homework and I’m asking 3. What is the essential ACTION? my teacher for an extra day to hand it in. 4. What is that action like to me? It is AS-IF... PURPOSE: To gain personal insight and urgency to the scene or beat. Literal Tactics & Tools In this step, the actor determines what the character he or Different ways an actor goes about getting his action. she is playing is literally doing according to the text. Example: Plead, flirt, demand, inspire, challenge, level, PURPOSE: An actor has to travel far—think of this prepara- threaten. tion as the road map. Living In The Moment Want Reacting impulsively to what the other actor in the scene is In this step, the actor identifies the goal of the character in doing, from the point of view of the chosen action. the scene, specifically what the character wants from the other character/s in the scene. The given circumstances of the story inform the WANT.

PURPOSE: To focus the actor on the characters’ interaction. Action Playing an ACTION is the physical pursuit of a goal. Defining the ACTION of the scene allows the actor to determine what result or CAP he or she is looking for from the other actor/s in the scene.

EXAMPLES: • Put someone in their place. • Beg someone for forgiveness. • Get a favor. • Get someone to let me off the hook. • Force someone to face the facts. • Inspire someone to greatness. • Get someone to see the light.

PURPOSE: Using an action gives the actor a task and a specific point of view. The Atlantic Theater Company teaches that the Action creates character.

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I C T scene analysis worksheet H EA TE R COMPANY

IF YOU’RE PLAYING SEMYON IF YOU’RE PLAYING ALEXANDER

Here are your “tools” for understanding your character: Here are your “tools” for understanding your character: What is my character literally doing? What is my character literally doing? Semyon is literally talking to Alexander about the irony of Alexander is literally talking to Semyon about the irony of life being unfair and beautiful at the same time. life being unfair and beautiful at the same time.

Now can you think of another idea of what Alexander and Now can you think of another idea of what Alexander and Semyon are literally doing? Semyon are literally doing? What does my character want? What does my character want? Semyon wants Alexander to see that despite their greatest Alexander wants Semyon to understand that struggling efforts, they are being held down by forces that our out of through the injustices being thrown at them is worth living. their control. What is the action I’m going to play? What is the action I’m going to play? To get someone to seize a great opportunity. To get someone to concede to defeat. What other actions might work to create the illusion of the What other actions might work to create the illusion of the character? character? The As-if The As-if It is as if my semi-retired father was offered an amazing job It is as if my mom was sick and I thought she needed to be that he had never done in his 40+ years of working, and he treated by a professional at a hospital, and she refused to wasn’t sure that he was up to the task. believe she needed help. Now can you remember a time in your own life when you Now can you remember a time in your own life when you needed to get someone to seize a great opportunity? needed to get someone to concede to defeat?

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I C T MINI-LESSON VOCABULARY H EA TE R COMPANY

KEY VOCABULARY HANDY TOOL KIT FOR THE ACTOR

Literal Acting Tactics & Tools The process of accessing the basic story-line of the charac- To Use In The As-If Step ters in a particular scene or beat. • Laughing to get what you want Want • Teasing to get what you want The process of identifying the goal of the character in a • Testing to get what you want scene or beat. • Threatening to get what you want • Pleading to get what you want Action • Flirting to get what you want • Bartering to get what you want The actor’s physical pursuit of a specific goal. • Bribing to get what you want • Begging to get what you want As-If • Crying to get what you want A way to determine what this action means to me. • Demanding to get what you want • Leveling to get what you want • Inspiring to get what you want • Challenging to get what you want

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I C T section 5: YOUR STUDENTs AS Artists H EA TE R COMPANY

“Create your own work.” SATIRICAL TRIGGERS Use the following satirical line from DYING FOR IT as a prompt: - David Mamet, American playwright SEMYON: “I want to make a difference in a way I can’t alive.” & noted actor, William H. Macy, founders of Atlantic Theater Company Step One Separate students into groups of two. One student within The following activities will assist your students in under- each group should be the director and one should be the standing themselves as artists creating original work that playwright. connects with their own experiences and world. Step Two Give the class Semyon’s satirical line to use as a prompt for their scene. It is up to the playwright and director to discuss make your own play a location and time period that this line could take place in. TEACHER OBJECTIVE Step Three To facilitate the students’ exploration of satirical The playwright should then write a one page monologue that writing. takes place within that setting. It must be informed by but does not need to include the trigger line. STUDENT GOAL To understand the satirical elements of the DYING Step Four The director then has control of the play and the playwright FOR IT triggers and use them to inform their own writing and directing. should act in a different director’s play. Assign each playwright (now actor) to a different director and have the director stage and lead a discussion with his/her actor. Step Five Each pair should present to the class. This can be a process over one or two lessons, or one or two weeks, depending on how extensive and final the performances are expected to be.

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I C T performing your own satirical scene H EA TE R COMPANY

TEACHER OBJECTIVE A SCENE FROM DYING FOR IT To deepen the students’ understanding of satire through the use of physicality. Aristarkh Speak and you’re a hero. Men like me will honour you. Your STUDENT GOAL name will become a slogan. I’ll make sure that a portrait of To recognize the satire in the text and use this under- your corpse - providing it’s not too disfigured - will be on every standing to strengthen their scene work. front page. Russia’s intelligentsia will gather round your cof- fin. Your hearse will be drowning in erudite tokens of respect.

Step One Semyon Have two students read the scene aloud to the class. What a death.

Step Two Aristarkh As a group, discuss the moments of satire in the scene. What I would have such a death myself only alas, I’m needed alive. specific lines are satirical? How is the scene satirical as a So, are we agreed? whole? Semyon Step Three A useful, courageous, meaningful death. Have students split up in pairs and rehearse different satirical takes of the scene. After a few minutes, ask if anyone would like to share their scene with the class. How did differ- Aristarkh ent students’ takes on satire affect their performances? Were You need to compose your new suicide note, along the lines some more tragic while others were more comedic? that I’ve suggested. And shall we arrange a time?

Semyon A time?

Aristarkh Would tonight at midnight suit you?

Semyon Oh.

Aristarkh You are a true Russian hero and you are my equal. In the name of the intelligentsia, allow me to embrace you. I find myself overcome. I didn’t cry when my mother died. Oh, my poor mother. But now. Now.

Aristarkh sobs. Semyon comforts him.

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I C T POLITICAL CARTOON ACTIVITY H EA TE R COMPANY

Step One TEACHER OBJECTIVE Revisit the definition of satire and ask students to recall sa- To develop students’ understanding of satire in a differ- tirical moments from DYING FOR IT. ent, creative medium. Step Two STUDENT GOAL Instruct students to draw their own political cartoon. To understand that satire can take many forms and can relate to their own daily lives. NOTE: Encourage students to use their political cartoon to comment on society, not on any individuals. MATERIALS Sheet of paper, markers, crayons, pencils. Step Three Ask students to share their political cartoon with the class. Why did they pick their particular issue to comment on? How did they use satire to invoke humor? Does the humor help deepen your understanding of the issue?

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I C T common core & doe theater blueprint H EA TE R COMPANY

ENDURING UNDERSTANDING STRAND BENCHMARKS Satire is often used in playwriting and other literature to identify and poke fun at society’s shortcomings, Theater Making: Acting while using humor to ease political tensions and inspire Benchmark: Students increase their ability as imaginative social change. actors while continuing to participate as collaborative ensemble members. Students demonstrate the ability to reflect ESSENTIAL QUESTIONS on and think critically about their own work. In what ways does society influence our sense of self- worth and the value we place on our own lives? Theater Making: Playwriting/Play Making Benchmark: Students refine their ability as playwrights to How much of who we are is determined by the people express point of view and personal vision. around us and the relationships we have? Developing Theater Literacy How much of the value we place on our lives is depen- Benchmark: Students develop skills as critics by analyzing dent on external factors (jobs, relationships, societal the critical writings of others. expectations)? Making Connections Through Theater Benchmark: Students demonstrate a capacity for deep personal connection to theater and a realization of the meaning and messages of theater. Working with Community and Cultural Resources Benchmark: Students invigorate and broaden their understanding of theater through collaborative partnerships with theater professionals.

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I C T section 6: the atlantic legacy H EA TE R COMPANY

ATLANTIC THEATER COMPANY & ACTING SCHOOL 76 Ninth Avenue, Suite 537, New York, NY, 10011 Phone: 212-691-5919

atlantictheater.org atlanticactingschool.org

LINDA GROSS THEATER 336 West 20th Street, New York, NY, 10011

ATLANTIC STAGE 2 330 West 16th Street, New York, NY, 10011

Inspired by the Group Theater, Stanislavsky, and a passion for ensemble acting, David Mamet and William H. Macy formed the Atlantic Theater Company in 1983 with a select group of New York University Undergraduate drama students. Since its inception, Atlantic has produced more than 100 plays and garnered numerous awards, including: 12 Tony Awards, 11 Lucille Lortel Awards, 15 OBIE Awards, five Outer Critics Circle Awards, seven Drama Desk Awards, and three Drama League Awards. Noted productions include: Spring Awaken- ing, Port Authority, The Lieutenant of Inishmore, The Beauty Queen of Leenane, Boy’s Life, and American Buffalo.

The Atlantic Theater Company’s mission is to produce plays simply and truthfully, utilizing an artistic ensemble. Atlantic believes that the story of the play and the intent of its playwright are at the core of a successful theatrical production.

The Atlantic Acting School fosters new generations of actors by passing on the tools learned from Mamet and Macy and by preparing students for all aspects of a career in film, television and theater. The Atlantic offers studies through New York University, a full time conservatory program, part-time programs and summer workshops. Atlantic for Kids offers acting classes in an after school setting as well as summer programs for children ages 4 to 18.

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